at Nöthenitz. Thence he made many visits to the collection of antiques at Dresden. He became acquainted with many artists, above all with Oeser, Goethe's future friend and master, who, uniting a high culture with a practical knowledge of art, was fitted to minister to Winckelmann's culture. And now there opened for him a new way of communion with the Greek life. Hitherto he had handled the words only of Greek poetry, stirred indeed and roused by them, yet divining beyond the words an unexpressed pulsation of sensuous life. Suddenly he is in contact with that life still fervent in the relics of plastic art. Filled as our culture is with the classical spirit, we can hardly imagine how deeply the human mind was moved when at the Renaissance, in the midst of a frozen world, the buried fire of ancient art rose up from under the soil. Winckelmann here reproduces for us the earlier sentiment of the Renaissance. On a sudden the imagination feels itself free. How facile and direct, it seems to say, is this life of the senses and the understanding when once we have apprehended it! That is the more liberal life we have been seeking so long, so near to us all the while. How mistaken and roundabout have been our efforts to reach it by mystic passion and religious reverie; how they have deflowered the flesh; how little
